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I'm not afraid of dying tomorrow, only of being killed.

Stanley Kubrick

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Stanley Kubrick
Age: 70 †
Born: 1928
Born: July 26
Died: 1999
Died: March 7
Camera Operator
Chess Player
Cinematographer
Director
Executive Producer
Film Director
Film Editor
Film Producer
Photographer
Producer
The Bronx
New York City
Killed
Dying
Afraid
Tomorrow
Fear

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It's a mistake to confuse pity with love.
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Bad films gave me the courage to try making a movie
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Shooting a movie is the worst milieu for creative work ever devised by man.
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You sit at the board and suddenly your heart leaps. Your hand trembles to pick up the piece and move it. But what chess teaches you is that you must sit there calmly and think about whether it's really a good idea and whether there are other, better ideas.
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Busy people begrudge the days being short. I can no longer sit back and allow Communist infiltration, Communist indoctrination, Communist subversion, and the international Communist conspiracy to sap and impurify all of our precious bodily fluids.
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You're free to speculate as you wish about the philosophical and allegorical meaning of the film—and such speculation is one indication that it has succeeded in gripping the audience at a deep level—but I don't want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear he's missed the point.
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If you can talk brilliantly about a problem, it can create the consoling illusion that it has been mastered.
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One does not have to make Frank Capra movies to like people.
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The very meaninglessness of life forces man to create his own meaning. If it can be written or thought, it can be filmed.
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New York was the only really hostile city. Perhaps there is a certain element of the lumpen literati that is so dogmatically atheist and materialist and Earth-bound that it finds the grandeur of space and the myriad mysteries of cosmic intelligence anathema.
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It's impossible to tell you what I'm going to do except to say that I expect to make the best movie ever made.
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Suppose by chance you do get picked up. What have you done? You shot a horse that isn't first degree murder in fact, it isn't even murder in fact, I don't know what it is.
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The director's job is to know what emotional statement he wants a character to convey in his scene or his line, and to exercise taste and judgment in helping the actor give his best possible performance.
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I, uh, don't think it's quite fair to condemn a whole program because of a single slip-up, sir.
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You know, I often thought that the gangster and the artist are the same in the eyes of the masses. They're admired and hero-worshipped but there is always present underlying desire to see them destroyed at the peak of their glory.
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One man writes a novel. One man writes a symphony. It is essential that one man make a film.
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Everything has already been done. every story has been told every scene has been shot. it’s our job to do it one better.
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You're constantly changing man. But the film's not changing. The film stays the same. That's the beautiful aspect of it.
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I’ve never been certain whether the moral of the Icarus story should only be, as is generally accepted, ‘don’t try to fly too high,’ or whether it might also be thought of as ‘forget the wax and feathers, and do a better job on the wings.
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The destruction of this planet would have no significance on a cosmic scale.
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